|
crowd sourcing the experts |
||||||||
| |
||||||||
 |
||||||||
Adam WiltAdam Wilt has been working off and on in film and video for the past thirty years, while paying the bills writing software for animation, automation, broadcast graphics, and real-time control for companies including Abekas, Pinnacle, Omneon, CBS, and ABC. Since 1997 his website, adamwilt.com, has been a popular reference for information on the DV formats. He has reviewed cameras for DV Magazine and written its "Technical Difficulties" column, and taught classes and led panels at NAB, IBC, and DV Expo. He co-authored the book,"Optimizing Your Final Cut Pro System", part of the Apple Pro Training series; he hopes you'll buy a copy, as there's still a large advance to be paid off. 
Quick Look: Sony F65 4K Digital Cine CameraReview: Panasonic AG-AC160 and AG-HPX250 1/3” 3-MOS camcordersAffordable PL-mount Primes ComparedQuick Look: Three New E-Mount PrimesLSS Notes: Sony F3/FS100 preso at MTE; “C300 = Awesome”Quick Look: Canon EOS C300 LSS 1080p CamcorderQuick Notes: ETE Panel; MTE Open HouseCaleb Crosby’s FS100 Top HandleCine Gear Expo LA 2011NAB 2011 - Odds ‘N’ EndsNAB 2011 - Plasma Lights, and The Problem With LEDsNAB 2011 - SCCE ChartsNAB 2011 - CamerasNAB 2011 - Camera SupportNAB 2011 - LensesNAB 2011 - Stereo 3DNAB 2011 - RecordersNAB 2011 - FilmLightNAB 2011 - Ikegami’s HDS-F90 LSS 4/3” CamcorderNAB 2011 Video - 3rd-Party Support for the AG-AF100NAB 2011 Video - Panasonic AG-HPX250NAB 2011 Video - Panasonic’s second-generation 3D CamcorderNAB 2011 Video - Panasonic AJ-HPX3100NAB 2011 - Arri AnnouncementsNAB 2011 Video - Two New Video Recorders, and More…
January 2012December 2011November 2011October 2011September 2011June 2011May 2011April 2011March 2011February 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010February 2010January 2010December 2009November 2009October 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008January 2008December 2007Complete Archives |
|
NAB 2011 - FilmLightThe film scanner / color management / grading system company’s NAB offerings.
UK company FilmLight is packaging their high-end color-grading system Baselight as an “under US$1000” plugin for Final Cut Pro. They’ve also announced the new Blackboard 2 soft-key control surface, and they’re now the non-US distributor for Visionary Archive. more »
Apple •
Final Cut Pro •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
NAB 2011 •
Post Production •
Software •
(0) Comments •
•
Permalink
HPA Tech Retreat 2011 Day 1HPA Super Session 2011—Snowflake Workflows
HPA set the stage for the Super Session with these words: “With all the options in workflow today, it seems no two projects are exactly alike. Just like snowflakes, our projects begin beautiful, shiny, and a unique wonder to behold. But as they slowly drift to their final destination, they seem to just turn into slush, as we leave them behind searching for our next wonderful, pristine, new way.” more »
*VIDEO* •
3D •
Business •
Cameras •
Editing •
GentryMedia Sister Sites •
ProVideo Coalition •
Hardware •
Post Production •
Production •
Visual Effects •
(1) Comments •
Most recent comments by:
Benjamin Rowland,
•
Permalink
Pro Apps PDFs!Oh, frabjous day: Apple offers PDF user manuals again!
OK, so maybe I’m stupid (no comments, thanks very much) and these have always been available, or maybe they’re new: Apple has PDF user manuals for Pro Apps available for download. more »
Apple •
Final Cut Pro •
Motion •
Editing •
Post Production •
Software •
Tips •
Training •
(4) Comments •
Most recent comments by:
maniaco007,
Michael Horton,
Adam Wilt,
Michael Horton,
•
Permalink
Remembering the DPS SparkAye, laddie, it takes you back…
Over the weekend I cleared out a bunch of old gear, including the capture card that launched a revolution: the DPS Spark. Thirteen years ago, this card changed low-cost video editing forever. more »
Editing •
Hardware •
Post Production •
(3) Comments •
Most recent comments by:
Gerry Fraiberg,
ericescobar,
Scott Simmons,
•
Permalink
Can a Mac mini handle dual-screen HD editing?I compare an early 2009 and a late 2010 Mac mini with a three-year-old MacBook Pro.
At work, I have a big, snorting, hairy beast of a MacPro, but at home I want something small, quiet, and abstemious with the power—yet still capable of dual-screen HD editing with reasonable playback performance when I need it. I’ve tested two Mac minis, with GeForce 9400M and 320M GPUs, alongside my older 15” MacBook Pro with a Radeon x1600 GPU, and the results are… interesting. They may be applicable to recent MacBooks with the same GPUs, too. more »
Editing •
GentryMedia Sister Sites •
Mac Coalition •
Hardware •
Post Production •
(3) Comments •
Most recent comments by:
Umit,
IEBA,
cmoore,
•
Permalink
RED+FCP: 3-channel Audio NG in STPYet another example of why you want to validate a new workflow on a small project!
Just a quick note: I took a short piece shot on RED and sent the FCP edit into Soundtrack Pro. I found to my dismay that I was unable to apply almost any processing to most of the clips: no noise reduction, no add-on processing (as shown in the image). A bit of investigation followed: more »
Audio •
Cameras •
Editing •
Post Production •
Tips •
(3) Comments •
Most recent comments by:
Adam Wilt,
Thomas Craul,
Spiffy McGoo,
•
Permalink
“Droidmaker” available as a free downloadMichael Rubin’s historical tale of NLEs and CGI is available as three free PDFs!
Michael Rubin, the author of several Mac and editing books, wrote a Lucasfilm/Pixar-centric history of the development of nonlinear editing and computer graphics for film production. The book, Droidmaker, gets rave reviews, as well it should: it’s a great snapshot of the early days of NLEs and CGI, as well as the politics and soap-operatic dramas surrounding them, written by a guy who Was There When It Happened. You can download it for free, and if you want to add a dead-trees copy to your library, you can do that, too. Highly recommended!
Business •
Editing •
Hardware •
Post Production •
(1) Comments •
Most recent comments by:
Eugenia,
•
Permalink
RED+FCP+Color: Making It All WorkLessons learned in RED FCP/Color roundtripping, and a suggested FCP/Color workflow for RED clips.
I had previously reported that 2K REDCODE footage (2048x1152), shrunk to 93.75% to fit an HD timeline in FCP, came back from Color as 1920x1080 footage shrunk once again by another 93.75%. I’ve since explored this further and found out what was going on—as well as run into and characterized one of the oft-reported “softening” issues in Color. With these and other minor surprises in mind, I’ve developed a RED+FCP+Color workflow that works for me; maybe it’ll work for you, too. more »
Editing •
Post Production •
(7) Comments •
Most recent comments by:
bongiben,
luca immesi,
Adam Wilt,
Charles Angus,
mkhsfz,
Adam Wilt,
Charles Angus,
•
Permalink
|
|
|
||||
|
|
|||||||
2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
To be considered for listing, contact pr (at) provideocoalition (dot) com
Copyright © 2011, HD Expo, LLC a division of Diversified Business Communications. DBA Createasphere
All rights reserved. HD EXPO, High Def EXPO, Createasphere, E-Tech, Entertainment Technology Exposition, 3D Production Workshop, VariCamp, P2 Camp, ColorCamp 101, and Lighting, Filters & Gels for HD are all trademarks of HD Expo, LLC.